Les spectres du bon gouvernement d’Ambrogio Lorenzetti: Artistes, cités communales et seigneurs angevins au Trecento, by Rosa Maria Dessì
2019; Oxford University Press; Volume: 134; Issue: 570 Linguagem: Inglês
10.1093/ehr/cez235
ISSN1477-4534
Autores Tópico(s)Byzantine Studies and History
ResumoOffering a novel reinterpretation of the famous paintings by Ambrogio Lorenzetti for the Sala della Pace in Siena’s Palazzo Pubblico, this study by Rosa Maria Dessì challenges the idea that the scheme was designed primarily to extol the benefits of communal government over that of a prince or signore. For her, the influence of the Angevin dynasty within Tuscany between 1268 and 1343 has been seriously overlooked, particularly that of Charles, Duke of Calabria, signore of both Florence and Siena from July 1326 to December 1327. She also argues that modern art historical scholarship has neglected the history of repainting and restoration of the Sala della Pace paintings which, according to her, renders them a form of ‘palimpsest’. Her stated aim is to recover what has been lost over time—the ‘spectres’ of the book’s title. As well as the Sala della Pace scheme, Dessì considers the impact of the Angevins upon projects by other Tuscan artists including Giotto and Tino di Camaino (both of whom worked in Naples for the Angevin court) and Simone Martini who, she controversially argues, was in the service of Robert of Anjou between 1315 and 1333 (pp. 170–1) and was the miles who received payment from the king in 1317 (pp. 195–6) thus rejecting Francesco Aceto’s conclusion that the beneficiary was an Aragonese knight of the same name. She identifies several works which, because of alterations by the artists themselves or later painters or restorers, she again designates as ‘palimpsests’—a strategy that underpins numerous proposals concerning allegedly lost or misunderstood details, each of which, if correct, would support her thesis of overlooked Angevin reference.
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